Step-swing-hop

No. DANCE
Dance step
of measure Step R footpattern
Step sideward&(ct. 1), swing the
counting 1M
L foot across the R in front and hop
on the R at the same time (ct. 2).
a
Counting: 1,2
Hop Step Step R foot forward (ct. 1), hop on the 1M
same foot and raise the L foot in front or
in rear (ct. 2).

Counting: 1,2
Shuffling steps Shuffling steps are tiny sliding steps 2M
forward on the balls of the feet. Execute
as many steps as necessary.

Counting: 1 2 1 and 2
Rocking step Fall onto L foot forward and raise R foot 1M
in rear (ct. 1), fall onto R foot backward
and raise L foot in front (ct. 2). The body
is inclined slightly forward and backward
in a rocking motion.

Counting: 1,2
Pivot turn Step R foot in fourth in front (or a little 2M
close to fifth position in front) and bend
the R knee slightly (ct. 1), execute a
quarter turn right with a push on the ball
of the L foot and raise the R foot slightly
off the floor (ct. and). Repeat this
movement three more times to complete
the turn in two measures. This may be
done in 2 or more measures.

Counting: 1, and 2
Bleking Step Place R heel in front and hop on the L 1M
foot (ct. 1), with a spring reverse the
position of the feet, that is L heel is
placed in front (ct. 2). This is taking one
count for each movement. Place R heel in
front (ct. 1), step R close to L (ct. 2). This
is taking two counts for each movement.

Counting: 1, 2
Touch step A. Point R foot in front (ct. 1), step R 1M
close L foot (ct. 2).

B. Hop on L and point R in front (ct. 1).

with a spring reverse the position of the
feet (ct. 2). This is taking the step in one
count.
Counting: 1,2

http://julstolentino.blogspot.com/2012/03/module-8-analysis-of-dance-steps-arms.htmlhttps://www.scribd.com/document/
366091287/Basic-Dance-Steps-in-2-4-Time-https://www.slideshare.net/selectedforeignfolkdances/c-1-lesson-2
DANCE TERMINOLOGIES

DANCE TERMINOLOGY DESCRIPTION

“T” POSITION Both arms should be at your sides, bent at
the elbows, and at shoulder level.

REVERSE “T” POSITION both arms at sides and bent at the elbows so that
the forearms are parallel to the head, palms
facing inwards.
ABRESETE Girl at the right side holds R arm of partner with
her L hand, free hands sown at sides. This term
is Spanish in origin and is used in rigodon and
in other dances.
ARMS IN LARERAL POSITION both arms at one side, either right or left; at
shoulder, chest, or waist level.
BRUSH weight on one foot, hit the floor with the ball or
heel of the other foot, and lift that foot from the
floor to any direction.
CABECERAS the couples occupying the width of the hall
when dancers are in square formation (head
couple).
CLOCKWISE like the motion of the hands of the clock. R
shoulder is toward the center of an imaginary
circle. When facing center, movement is toward
the left.
COUNTER CLOCKWISE the reverse direction of clockwise, L shoulders
toward center. Movement is toward right when
facing center of circle.
COSTADOS the couple occupying the length of the hall when
dancers are in square formation (side pair).
CROSSED ARMS partners facing each other or standing side by
side join their L hands together and the R hands
together; either R over L or L over R.
CUT to displace quickly one foot with other.
FREE FOOT he foot not bearing the weight of the body.
FREE HAND the hand not placed anywhere, or not doing
anything.
HAND ON WAIST place hands at the waist line, knuckles in,
fingers pointing rear.
HAPAY to flourish or offer a handkerchief, hat, glass of
wine to somebody as a sign of invitation.
HAYON-HAYON to place one forearm in front and the other at the
back of the waist.
Kumintang Moving the hand from the wrist either
clockwise or in a counter-clockwise
direction. This is an Ilocano dance term.

REFERENCE
https://julstolentino.blogspot.com/2012/03/module-7-review-of-different.html?

fbclid=IwAR2CO2pSvR8KckpHEvrv8dBQ7cY7Zhaa86lAqeRSuCANMRUnXjyHIRNny98
DEPARTMENT : Senior High School

GRADE & SECTION : 12 – STEM 1

SUBJECT : Physical Education and Health

TOPIC : Philippine Folk Dance (Dance

Terminologies,
Dance steps, Dance
Literature)

SUBMITTED BY : MARK VINCENT B. JAYME

Student

SUBMITTED TO : RONIEL D. ALUPIT

PE & HEALTH – Teacher

SCHOOL YEAR : First Semester 2022

RATING :
 Examples of Urban Dance and Rural Dance
(URBAN DANCES / SPANISH-INFLUENCED DANCES)

RURAL DANCES DESCRIPTION

Paypay de Manila The young ladies carry scented fans, or
"paypay" and flirt with young men with
canes and straw hats, once more giving
evidence of the Kastilian influence.
Malaguena This dance was a favorite dance of the
people of Laguana and Quezon during
the Spanish Era. A lively festival dance
that was brought by the Spaniards to the
Philippines. Literally, malagueña means
'anything from Malaga' or 'a woman
from Malaga.
Paseo de Iloilo One of the most sophisticated courtships
and flirtation dances of the Spanish era.
The gentlemen compete with each other
to win the heart of the dalaga, or young
lady, by exemplifying chivalry, grace,
and confidence.
Habanera Jovencita A dance typical of a woman’s debut or
even her wedding. The accompanying
love ballad was written by Maestro
Nitoy Gonzales when he was courting
Jovita Friese, who then choreographed
the graceful and beautiful habanera
dance that accompanies it. Jovencita
means “young lady” in Spanish.
Carinosa A courtship dance that originated in
Panay. It depicts a man courting a
woman while being restricted from
touching her. A demure lady is
protecting herself from the man using a
scented fan and a handkerchief, as if
playing hide-and-seek.
Pantomina Originally a wedding dance from the
province of Albay
Paso Doble It means double step. The dance is
based on the movements of a bullfighter
in the ring. A señorita flirtatiously
wields her fan, using it to stress a point.
Chotis A ballroom dance during the Spanish
regime. Features young ladies as they
flirtatiously sway hats in a waltz tempo.
Danza A folk dance of Cuban origin that
became popular in the late 19th century,
also known asHabanera or Danza
habanera. A social dance in duple time
and performed in a ballroom or on a
stage.
http://www.seasite.niu.edu/tagalog/cynthia/dances/spanish_influence_dances.htm
https://www.parangal.org/spanish-influence
RURAL DANCES
RURAL DANCE DESCRIPTION
Maglalatik Depicted a mock fight for latik. Latik is
the coconut meat residue.
An all-male dance, Maglalatik is unique
because the coconut shells are worn on
the bodies and legs of the performers.
Sakuting A ritual dance that depicts a mock fight
celebrating a victory. This is of Chinese
influence.
Paraguanen Originally performed by the aborigines
of the Philippines imitating the Spanish
conquistadors occupying their land.
Sambalilo-Kuratsa This is a flirting dance wherein the
swain is showing off to his sweetheart
that he can pick up a straw hat without
using his hands and dancing at the same
time. A teasing fast dance of chase and
run.
Bulaklakan A garland dance performed in the month
of May by beautiful ladies who dance
their way toward the town church during
the flower festival.
Binasuan A difficult dance featuring women
balancing glasses filled with “tuba” on
their heads and one on each palm, doing
rolls on the floor and sometimes
whirling in circles.
Tinikling Considered the national folk dance. This
dance is a mimic movement of “tikling
birds” hopping over trees, grass stems,
or over bamboo traps set by farmers.
Named after the long-legged tikling
bird, which is here impersonated by alert
dancers with magic feet skipping among
striking bamboo.
Kalapati An amusing dance imitating the
movements of the doves, or “kalapati.”
Sayaw sa Bangko A dance that requires skill while dancing
on a narrow bench. The dancers twist
and jump as shouts and applause
encourage them not to fall off the bench.
Itik-Itik A young woman named Kanang (short
for Cayetana), began improvising her
steps in the middle of her performance
imitating the movements of an “itik”, a
duck, as it walks with choppy steps and
splashes water on its back.
Dance literature of Urban Philippine Fold Dance:
Dance Literature of Carinosa
CARINOSA

The Filipino folk dance known as Cariosa, whose Spanish pronunciation is [kaiosa] and
means "the loving or affectionate one," is of Hispanic origin and is part of the Maria Clara
suite. The fan or handkerchief is used to set the scene for the romance between the couple in
this dance.

HISTORY When the Spaniards colonized the

Philippines, they brought the dance with
them from Panay Island in the Visayan
Islands. It shares similarities with some
Spanish dances, such as the bolero, and
Mexican dances, such as the Jarabe
Tapatio or Mexican Hat Dance.

COSTUME Since the Carinosa is a Maria Clara

Spanish dance, it was originally
performed while wearing a Maria Clara
dress and a Barong Tagalog. The
patadyong kimona and camisa de chino
were worn by the Filipinos as they
observed and imitated this dance to
show their nationalism for their
homeland. Other steps were also revised
or Filipinoized, but the music remained
unchanged, revealing a Spanish
influence on the Filipinos. According to
Francisca Reyes-book, Aquino's dancers
may wear the barong Tagalog and
colored pants for boys, the patadyong
kimona (a dress of the Visayan people),
the camisa (a white sleeve), or the
balintawak style (a native dress of the
Tagalog regions). The dancers may
perform the national dance because it
may wear many Filipino costumes.

MUSIC Similar to some Spanish dances,

Carinosa music has a 3/4 rhythm. Like
the Spanish musicians in Spain, the
Philippine Rondalla perform this dance
music on a group or orchestra of string
instruments made up of bandurrias,
mandolins, guitars, basses, drums, and
banjos. Most of the time, men play the
rondalla instruments, but occasionally
women will join in.
Dance Literature of Rural Philippine Folk Dance:
Dance literature from the Bangko region
BANGKO SAYAW
This dance falls under the category of
Barrio and Rural Dances. Its performers,
who must dance on top of a bench that is
about six inches wide, must be skilled. It
is a native of the barrio of Pangasinan,
Lingayen, Pangasinan. A well-known
folk dance from the Philippines called
Sayaw sa Bangko requires the dancers to
balance themselves while dancing on
top of a small bench. Dancers perform
while dancing on top of a small bench
and switching places frequently.
Dancers must work in unison to prevent
falls rather than competing with one
another to stay on the bench. Typically,
this dance is performed at community
fiestas.

HISTORY According to research by Jovita Sison,

the Filipino folk dance Sayaw sa
Bangko—literally, Bench Dance—was
developed in the Lingayen and
Pangasinan of the Pangapisan Tribe and
is now primarily performed during town
fiestas. The dance, which was originally
done by newlyweds for their guests
during the wedding feast, demonstrates
how the bride and groom complement
and support one another through a series
of intricate steps that keep them from
falling off the bench.

COSTUME For the boys' costume, wear a chino

shirt with a necktie around your neck
and rolled-up pants. Patadyong for
females. Both lack socks and shoes.

MUSIC The music for this dance was composed

for folk instruments like the rondalla,
kulintang, gimbal, and kudyapi.

(Charlz, 2021) (Martes, 2012) (Studoco, 2021)

RURSAL DANCE

BANKO SAYAW

URBAN DANCE

CARINOSA